STAGE: TEATRO DUE DI PARMA

Primed by the 1984 Olympic Arts Festival in Los Angeles, America has been deluged of late by international avant-garde mixed-media troupes that include a foreign language as part of the media they mix.

The most recent example is an Italian ensemble with the rather cumbersome name of La Compagnia del Collettivo/Teatro Due di Parma at the Pepsico Summerfare here. Tonight it concluded a four-day run of a trilogy created from the three major works of the German playwright Georg Buchner. Thursday through Sunday, the ensemble will offer its version, again in Italian, of ''Macbeth.''

One suspects the ''Macbeth'' will be more effective than the Buchner. American audiences can be presumed to know the story of plays like ''Macbeth'' or ''The Tempest,'' which Giorgio Strehler's Milan company presented to great effect last summer in Purchase. But with a less well-known playwright, and given the freedom with which the Parma company plays with the texts, too much of tonight's performance was lost to a non-Italian-speaking audience.

The roots of this troupe lie in 1960's avant-gardism and the sort of humanist leftism that pervades the European avant-garde. That is clearly one reason they were attracted to Buchner (1813-1837), who managed in his short life to create three extraordinarily proto-modernist plays.

The Parma conflation of this trilogy, collectively created by the company as a whole, consists primarily of ''Danton's Death,'' a study of the French Revolution, and ''Woyzeck,'' that harrowing portrayal of the archetypal downtrodden comman man. The third work, ''Leonce and Lena,'' received less overt attention, although a company spokesman said its satiric political spirit ''inspired'' the production as a whole.

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What resulted was a two-plus-hour collage involving eight actors in which Buchner's texts were compressed, altered, shifted about, commented upon and enlivened with a few striking theatrical images. There was a lot of Grotowskian physical movement, yelling, crooning, occasional nudity and some clever use of amplified sound effects.

As such it was often striking and involving, but it would take a fluent Italian speaker to venture a judgment about how it enlarged or diminished our understanding of Buchner. Still, it's good to be confronted with such European innovators, even if we can't always fathom what they're trying to tell us. The Cast A CHE PUNTO SIAMO DELLA NOTTE, a theatrical performance drawn from ''Danton's Death,'' ''Leonce and Lena'' and ''Woyzeck'' by Georg Buchner. Music composed by Alessandro Nidi; costumes by Nica Magnani. La Compagnia del Collettivo/Teatro Due di Parma. Pepsico Summerfare, Purchase, N.Y.